Here’s another photo from St. Paul’s Episcopal Church. I used to drive over here all the time when testing new-to-me old cameras. There’s all sorts of interesting scenes to photograph here, and it was five minutes from my old house. When I had some business not too far from here the other day I made sure to bring my Yashica-12 along, as I was finishing up a roll of T-Max 100 I’d spooled inside.
I have no idea who this statuesque fellow is, but I’ve always wondered what he’s squinting at.
I developed this at home in Rodinal, at 1+50 dilution. My bathroom was a perfect 68 degrees so I didn’t have to adjust developing time for temperature.
Angel guiding the way Yashica-12 Kodak T-Max 100 2019
As I’ve been learning how to develop black-and-white film at home, I’ve stuck to 120 film and have mostly used my Yashica-12 TLR. The more I use the 12, the more I enjoy it.
I took half an afternoon off because of personal business that found me on Indianapolis’s Far Northside. I brought the 12 along and stopped at a couple favorite places I don’t visit much since I moved to Zionsville. One of them is St. Paul’s Episcopal Church, which has lots of lovely scenes to photograph.
I love this little statue of the angel lighting the way and have photographed it several times. The TLR with its peer-down viewfinder easily let me get right down onto its level for a straight-on shot.
I processed this film at home in Rodinal. Everybody says Rodinal brings out the grain, but this looks plenty smooth to me.
I’ve had my most successful go yet at developing black-and-white film at home.
I had trouble getting the Kodak T-Max 100 onto the reel, though. I tried six times before it took. The first five times it took up okay but at about two-thirds spooled it crumpled and jumped off the track. The stuff feels thicker than the Acros and Kosmo Foto films I’ve developed previously, films that went onto the reel like they were born to be there. The T-Max felt almost as thick as the expired Verichrome Pan I could never manage to get on the reel. It, too, kept crumpling and jumping the track.
I vocally compared the film to the male offspring of a female dog and tried again. It crumpled and jumped the track again, but in frustration I forced the film flat and back onto the track, which crumpled it further but let me keep on. From there I ratcheted the reel very slowly, and finally all of the film was wound on.
Naturally, those crumples showed up as dark curved lines on the developed negatives, which translated to light curved lines on the scans. With Photoshop’s healing tool I was able to fix them well enough.
I used Rodinal at its 1+50 dilution and used the spinner to agitate the film. Because the weather is cooler now my bathroom, and therefore all of my solutions, were a perfect 20° C so I didn’t have to adjust developing time for temperature. I also made sure the reel was pushed to the bottom of the core, and therefore the tank.
To my eye the negatives are a little thin. I fiddled with exposure and contrast in Photoshop to counteract it. I also misfocused a couple shots. I’m usually spot on with my Yashica-12, but not this time. Finally, and I’m not sure why, my scanner simply would not bring in the entire frame of the frog statuettes. The ScanGear software detects the frame’s edges for you, and when it gets it wrong you have no recourse. I muttered under my breath, cropped the scan square, and moved on.
Here are ten of the 12 photos in order from first to last. The other two turned out so well that I’ll share them as Single Frame posts next week.